{"id":5813,"date":"2016-08-20T22:30:37","date_gmt":"2016-08-20T15:30:37","guid":{"rendered":"http:\/\/arkipel.org\/?p=5813"},"modified":"2017-08-02T19:19:18","modified_gmt":"2017-08-02T12:19:18","slug":"middle-finger-against-dichotomy","status":"publish","type":"post","link":"https:\/\/arkipel.org\/middle-finger-against-dichotomy\/","title":{"rendered":"Middle Finger Against Dichotomy"},"content":{"rendered":"[vc_row][vc_column][vc_column_text]\n

Mengacungkan Jari Tengah Pada Dikotomi<\/h2>\n

Sebuah opini oleh Perdana Putri tentang acara pembukaan festival ARKIPEL social\/kapital dan filem Zone Zero<\/em> (Farzad Moloudi, 2014).<\/h4>\n

 <\/p>\n

GOETHEHAUS<\/strong>, Goethe-Institute Jakarta, disesaki para pegiat dan peminat ARKIPEL 2016: social\/kapital, bahkan sebelum acara pembukaan itu dimulai pukul tujuh malam. Poster-poster filem yang akan ditampilkan dalam sesi Kompetisi Internasional yang akan berlangsung selama seminggu ke depan terpajang rapi menyambut tamu yang baru datang. Tak hanya ARKIPEL, tak sedikit juga pengunjung yang datang untuk menyaksikan Dialita, grup vokal para penyintas 1965, yang akan membuka acara.<\/p>\n

\"IMG_3521\"<\/p>\n

ARKIPEL social\/kapital<\/em> \u2013 4th <\/sup>Jakarta International Documentary & Experimental Film Festival adalah festival filem internasional yang diselenggarakan oleh Forum Lenteng secara konsisten semenjak tahun pertamanya di 2013. Mengusung tema \u201csocial\/kapital\u201d di tahun 2016 ini, ARKIPEL berusaha, \u201cmengangkat narasi yang terabaikan\u201d dari sudut pandang yang \u201cberdiri di periferi\u201d, sebagaimana ujaran Hafiz Rancajale, Direktur Artistik ARKIPEL dalam pembukaan festival tersebut, tanggal 19 Agustus lalu.<\/p>\n

\"DSC01081\"<\/p>\n

\"Dialita.\"

Dialita.<\/p><\/div>\n

Pemilihan tema social\/kapital <\/em>merupakan usaha ARKIPEL dalam menjawab situasi masyarakat dan kebudayaan saat ini. Meskipun Tembok Berlin runtuh hampir tiga dekade lalu dan Francis Fukuyama telah mendeklarasikan bahwa dialektika antara kapitalisme-sosialisme telah selesai, mereka dianggap berekonsiliasi, hingga hadirlah keberakhiran sejarah, dua ideologi itu tetap hidup dan berkontestasi hingga hari ini. Dialektika yang rupanya terus berlanjut itulah yang ingin disorot oleh perhelatan keempat ARKIPEL kali ini. Di tengah narasi-narasi besar yang sama-sama menjanjikan tataran dunia yang lebih baik, bagaimana para pelaku ruangnya berinteraksi dan mengartikulasikan imajinasi personalnya mengenai dunia di masa depan?<\/p>\n

\"_ABE7029\"<\/p>\n

Dengan adanya pengalaman personal dari pelaku ruang tersebutlah, dikotomi dua narasi besar tersebut berusaha diretas dengan lokalitas pelaku dan dalam berbagai konteks. \u201cDua dikotomi ini lama-kelamaan kehilangan konteksnya,\u201d tutur Hafiz, dan telah terjadi pergeseran mengenai pusaran kuasa politik dan juga estetik. Usaha ARKIPEL membingkai narasi-narasi periferial di luar narasi besar tersebut, dan bagaimana tanggapan masyarakat terhadap fenomena narasi-narasi kecil itu lewat medium sinema, agaknya dapat dibaca sebagai kejenuhan terhadap kuasa pengetahuan modern pada produksi kebudayaan.<\/p>\n

\"Otty

Otty Widasari, salah satu kurator, menyampaikan pengantar mengenai film Zone Zero (Farzad Moloudi, 2014). \/ Otty Widasari, one of the curators, gave an introduction about the Zone Zero (Farzad Moloudi, 2014).<\/p><\/div>\n

Seluruh filem dan tema diskusi yang akan diputar dan diselenggarakan oleh ARKIPEL dalam seminggu ke depan bersetia dengan tema tersebut. Menurut saya, hal ini dibuktikan dengan pemutaran filem Zone Zero<\/em> yang saya, sebagai penonton, anggap gambaran paling gamblang bagaimana dialektika sosial[lisme] dan kapital[isme] itu berlangsung, tetapi menuntut penafsiran baru atasnya. Sebagai penulis dan juga pecinta filem, saya pribadi memiliki pandangan tersendiri mengenai filem Zone Zero<\/em>.<\/p>\n

Zone Zero <\/em>adalah salah satu filem dokumenter yang bersaing dalam Kompetisi Internasional ARKIPEL social\/kapital. Filem tersebut mendokumentasikan dinamika kehidupan para imigran yang tinggal di Gereja Gesu, Brussel, Belgia; sebuah gedung bekas gereja yang beralih fungsi menjadi tempat tinggal komunal. Pengelolaannya menggunakan pihak ketiga; komune gereja dan sebuah serikat (atau organisasi non-profit?). Seluruh penghuni memiliki hak suara dalam berbagai masalah, mulai dari air, listrik, hingga apakah boleh seseorang menginap untuk beberapa hari di kamar seseorang yang lain. Gedungnya sendiri, secara administratif, merupakan properti privat.<\/p>\n

\"DSC01161\"<\/p>\n

\"Cuplikan

Cuplikan filem Zone Zero pada pembukaan festival ARKIPEL social\/kapital. \/ Zone Zero at the festval opening ARKIPEL social\/kapital.<\/p><\/div>\n

Farzad Moloudi, yang juga penghuni Gesu, sebagai sutradara filem berhasil menempatkan dirinya pada jarak yang begitu intim dan berada di pusaran narasi yang hidup di gedung Gesu yang menua: para seniman jalanan yang memiliki imajinasi Marxian mengenai pengelolaan Gesu; dan Victor, seorang berdarah Afrika yang percaya pada logika liberal (dengan penegakan hukum dan lain-lain); juga beberapa orang-orang lain, seperti seorang perempuan Algeria yang sedang membesarkan bayinya yang baru lahir dan seorang musisi jalanan dari Slovakia. Penghuni Gesu, dengan berbagai imajinasinya sebagai imigran dari negaranya yang hancur berantakan karena perang dan kekacauan politik, melakukan negoisasi dengan kenyataan yang ada.<\/p>\n

Gesu tampak seperti gambaran dunia hari ini: perebutan sumber daya (air, listrik, dan ruang tinggal berbentuk kamar), tarik-menarik ideologis dalam majelis umum (assembl\u00e9e g\u00e9n\u00e9rale<\/em>)<\/em> antarpenghuni, dan rasisme (stereotipe para penghuni). Semua dituturkan apa adanya. Namun, ia tidak tampil gamblang dalam imaji ideal layaknya (atau seharusnya) dua idelogi bertarung; berhadapan dan kaku. Pertarungan itu hadir secara resiprokal dan menghasilkan alternatif-alternatif yang merangsek di antara dua dikotomi. Dan ini yang sepertinya luput dari pemahaman umum kita mengenai \u201csosialisme\u201d dan pasangannya, \u201ckapitalisme\u201d.<\/p>\n

Proses negoisasi dan tarik ulur ini tak selalu berujung manis, kadang semua harus puas dengan usaha-usaha kecil, seperti sabotase, lokakarya untuk anak-anak di Gesu yang berakhir kandas, atau ruang filem yang tak lagi dipakai. Kadang, juga bisa memulai sesuatu yang dianggap bibit-bibit revolusi dengan mengajak anak-anak melukis serangga. Apa pun yang terjadi, dua narasi besar yang berusaha dibenturkan secara vulgar\u2014antara \u201csi kapitalis\u201d pengelola gedung dan \u201csi sosialis\u201d si penghuni\u2014memiliki cerita dan riaknya sendiri di antara dua sungai ideologi itu.<\/p>\n

Hasil dari negoisasi ini mungkin tampak kecil karena terjadi pada tataran akar rumput dan jauh dari ingar bingar orang elite di pusat kota Brussel, tetapi begitu signifikan dalam level yang sangat paradigmatik. Dengan bahasa sinemanya, Moloudi berusaha menangkap proses negoisasi ini tidak hanya menjadi medan survivalitas Gesu, tetapi juga usaha-usaha mendefinisikan berbagai hal, seperti apa itu kebersihan dalam konteks masyarakat urban dan narasi lain yang terus berjalan di bawah tanah (harafiah) Brussel\u2014kemungkinan-kemungkinan tentang tinggal di bawah tanah dan bagaimana mereka membaca karya-karya ekonomi politik Marxist di sana.<\/p>\n

Zone Zero <\/em>juga jadi semacam preposisi bahwa sejatinya dunia tak segampang itu diubah dengan kekuatan kolektif maupun semangat individual yang berdikari. Kolektivitas bubar jalan seiring kabel-kabel Gesu saling terpaut antara kamar yang berebut listrik, atau ketika AG menjadi ruang untuk menyuarakan rasisme yang terpendam di masing-masing penghuni Gesu. Individu baik hati, seperti Victor, yang bersemangat membangun dengan kepercayaannya terhadap mekanisme hukum, hilang bersamaan dengan dua ratus polisi yang menyerbu Gesu; proyek hotel akan dijalankan maka saatnya memberangus orang-orang di dalamnya.<\/p>\n

Penghancuran Gesu, tentu saja, dapat dilihat sebagai kuasa kapital dalam memberangus wacana communal living complex<\/em>. Namun yang terpenting, dalam pergolakan kekuasaan itu, yang harusnya diketahui adalah kompleksitas di dalamnya. Bagaimanapun, ratusan penghuni Gesu telah berusaha dengan segala kondisi dan konteksnya untuk mempertahankan bangunan tersebut. Toh, baik dari dua narasi besar yang dibenturkan dalam persoalan Gesu, suara yang tak puas justru hadir dari masyarakat yang jauh dari jangkauan teks ideologi\u2014tapi lucunya, secara keberadaan, mereka adalah apa yang baik Marx maupun Smith tulis dalam karya-karyanya. Seniman jalanan merasa tak puas ketika usaha \u2018liberal\u2019 semacam corporate social responsibility <\/em>dari sebuah firma mentereng di Amerika membantu mereka\u2014Victor tentu saja puas. Hal ini sama dengan kegusaran Victor terhadap moda-moda anarki yang timbul dalam situasi mencekik di Gesu. Juga ketidakpuasan si musisi jalanan yang ngotot kamarnya tak mau diberikan kepada ibu beranak tujuh, bahkan dalam kasus ini agaknya sudah tak penting lagi teks feminisme dan jargon perjuangan komunalitas; ini perkara hidup, bung!<\/p>\n

Ada yang lebih jauh dari sekadar social-kapital <\/em>(bukan dengan garis miring) dalam Zone Zero<\/em>. Secara sarkastik, orang-orang Gesu yang sepertinya muak dalam kungkungan dikotomis tersebut membuat instalasi seni; dari menara gereja mereka menurunkan boneka yang menyerupai manusia, saling bergelantungan, dengan tulisan di dindingnya \u201cpas<\/strong>–de<\/strong>–probl\u00e8me<\/strong>!\u201d <\/strong>(no problem!\/tidak ada masalah!). Atau jangan-jangan, pertanyaan dari orang-orang Gesu ini adalah, \u2018lalu setelah pasar bebas\/masyarakat komunis, lantas apa?\u2019?<\/p>\n

Pemilihan Zone Zero sebagai pembuka festival untuk mengenalkan lebih dalam tema ARKIPEL, yakni \u201csocial\/kapital\u201d, sepertinya dapat dipahami. Simbol-simbol ideologis dalam filem ini begitu gamblang; buku-buku Marxisme, corporate social responsibility, dan audiopolitik musik \u2018alternatif\u2019 dari dalam Gesu. Dan dialog, monolog, keributan di dalam gedung tersebut adalah usaha dalam merespon simbol yang telah melingkari mereka.<\/p>\n

\"IMG_3552\"<\/p>\n

\"IMG_3543\"<\/p>\n

\"IMG_3544\"<\/p>\n

Menurut saya, tema \u201csocial\/kapital\u201d, berdasarkan pemaparan saya di atas, memilki tantangan untuk menjelaskan dirinya pada generasi muda yang terkena de-ideologisasi Orde Baru. \u201cTemanya sangat menarik,\u201d tutur Hafidh, salah seorang pengunjung yang juga saat ini masih berstatus mahasiswa di salah satu universitas di Depok. \u201cDan temanya, apa ya<\/em>, bicara tentang hari ini banget<\/em>…\u201d Tapi Hafidh punya posisinya sendiri: \u201cDua ideologi ini dialektis, tapi keberpihakan itu bagi gue <\/em>tetap penting, sih<\/em>, kalau bicara hidup yang adil dan sama-sama pengen <\/em>nyaman. Narasi-narasi kecil yang ditampilkan dengan jujur kayak orang-orang di Gesu, tapi sama pentingnya juga.\u201d<\/p>\n

Yustinus Kristianto (Iyus) selaku partisipan undangan Forum Festival dan pengunjung acara pembukaan, juga menyatakan hal senada. \u201cIni tema yang segar. Tidak banyak yang mau bicara mengenai hal-hal paradoksal.\u201d Iyus sempat terdiam sesaat untuk memahami lebih lanjut. \u201cTapi, ini bukan usaha untuk mempertentangkan, tapi membuka ruang dialog. Juga yang paling penting, bagaimana filem dan pelaku sinema dapat membantu usaha menghadirkan dialog itu.\u201d<\/p>\n

\"IMG_3485\"<\/p>\n

ARKIPEL social\/kapital<\/em> \u2013 4th <\/sup>Jakarta International Documentary & Experimental Film Festival akan berlangsung hingga tanggal 25 Agustus 2016, bertempat di Gedung Ekosistem Sarinah, Goethe Institute, Kineforum, Erasmus Huis, dan @America.[\/vc_column_text][mk_divider style=”thick_solid” border_color=”#f1f1f1″ margin_top=”40″ margin_bottom=”40″][vc_column_text]\n

Middle Finger Against Dichotomy<\/span><\/h2>\n

An opinion by Perdana Putri about the festival opening ARKIPEL social\/kapital and film Zone Zero (Farzad Moloudi, 2014).<\/span><\/h4>\n

 <\/p>\n

AUGUST\u00a019th<\/sup>, 2016<\/strong>. GoetheHaus, Goethe-Institute Jakarta, was full of those who waited for and arranged ARKIPEL 2016: social\/kapital, <\/em>sometime before the event had been officially open. Film posters that would be screened during this international competition displayed rather neatly within the bright room of Goethe front hall, waiting for more guess to come. Albeit not only for ARKIPEL, several people were also excited to watch Dialita, a vocal group consisted by 1965 survivor, to perform as opening performance.<\/span><\/p>\n

ARKIPEL social\/kapital<\/em> \u2013 4th <\/sup>Jakarta International Documentary & Experimental Film Festival is an international film festival held by Forum Lenteng, consistently since its first attempt in 2013. Choosing \u201csocial\/kapital\u201d in 2016 as their main theme, this festival seek to \u2018up bring the left-behind narratives\u2019 from the perspective of one \u201cwho stands in the periphery\u2019, according to Hafiz Rancajale, Artistic Director of the ARKIPEL, on his opening remark.<\/span><\/p>\n

The decision to choose social\/kapital, so to speak, is one effort of ARKIPEL to answer the current situation of society and culture. The Berlin Walls might fall in 1989 and Francis Fukuyama dully noted the dawn of the end of history as \u2018communism\u2019 and \u2018capitalism\u2019 reconciled at last when the cold war has ended. Nevertheless, the dialectics of those two grand narrations that once occupied and effected majority of our world is still on, whether we like it or not. The question is, for ARKIPEL, not about which side to choose; rather how those two and its actor also spectator articulate and negotiate \u2013 having a dialogue and in between we might find another alternative. For these two narrations promise their own imagination of \u2018better world\u2019, how do society and its personal experience negotiate to fit their own \u2018better future\u2019?<\/span><\/p>\n

The locality of those personal experiences of society is the one who would apparently hack the dichotomy. \u201cThat dichotomy (social-ism & capital-ism) has slowly lost its context,\u201d said Hafiz, and there has been a shift in the vortex of political struggle and also aesthetic realm. ARKIPEL\u2019s effort in framing the peripheral narratives outside of such grand narratives, and how community responds the phenomenon through cinema, perhaps, could be seen as a saturation of modernity, especially the modernist discourse in cultural production.<\/span><\/p>\n

All of films and forums given to public by ARKIPEL in this following week would adjust the context given above. In my opinion, it’s proved by the opening event where ARKIPEL chose to screen Zone Zero, a 100-minute documentary film that seemed to depict anew (or to deconstruct) the dialectics between social[ism] and [c]kapital[ism] in quite explicit manner.<\/span><\/p>\n

Zone Zero <\/em>is one of those films competing in ARKIPEL social\/kapital. It portrays the dynamics of immigrants who live in Gesu church, Brussels, Belgia; formerly served as a church running by Jesuits, then it transformed to communal living. The management for this communal housing complex was quite challenging hence it was given to third-party system; communes and a so-called Union. Each person in Gesu has rights to vote over their community needs; namely whether one can stay over for couple of days, electricity problems, and access for water. The building itself, administratively speaking, is (up until now) a private property.<\/span><\/p>\n

Farzad Moloudi who was also an inhabitant of Gesu, as director successfully captured the dynamics of Gesu people from very intimate distance. The visual artists who had Marxian image in managing Gesu; and Victor, an African-Europa male who strongly believed in liberal logic, namely the justice and fair legal system. We also could do more than peek-a-boo towards other Gesu\u2019s inhabitants like an Algerian lady who born her baby child or street musician from Slovak. Gesu\u2019s people and their imaginations as immigrants who runaway from their ill-fated countries negotiated with reality faced once they arrived in Belgium.<\/span><\/p>\n

Gesu seemed brutally portraying our presence; the struggle over natural resources (water, electricity, and space for living), battle of ideologies in its General Assembly (assembl\u00e9e g\u00e9n\u00e9rale<\/em>) among people who lived there, and racism (stereotype that was heavily emphasized in this film). All narrations were told as they were. However, it wasn\u2019t displayed in our dull imagination on how two opposite ideologies might contest each other; stiff and wild-wild-west manner. The dialectics were reciprocal and resulting in alternative ways, trying to pull themselves out of the dichotomy. And this reciprocity might be something wiped out of the socialism-versus-capitalism discourse.<\/span><\/p>\n

This negotiation and push-and-pull process wasn\u2019t always as sweet and romantic as illustrated, sometimes sabotage was the only thing you could have; a failed attempt to give children hope while living in limbo like Gesu, or abandoned cinema room. And sometimes, we might find excitement in pupils of visual artist drawing insect, as they considered that activity to be a seed of further revolutionary act. Whatever that would be, those grand narrations of \u2018socialism\u2019 and \u2018capitalism\u2019 that had been roughly contested, turned out resulting in the creation of another reverberation that we might never have thought of before.<\/span><\/p>\n

That reciprocal and negotiating act in the grassroots might result something small compared to on-going discourse in wine-dining elites of Brussels. However, it was really paradigmatically something. In his visual language, Moloudi captured the impact to tell that it didn\u2019t stop as the form of Gesu\u2019s survivability and alteration, but also how all of this chaotic dialog and process redefined the daily urban discourse such \u2018sanitation\u2019, \u2018cleanliness\u2019, \u2018people who lived under Brussels\u2019 majestic buildings\u2019.<\/span><\/p>\n

Zone Zero <\/em>also becomes preposition that shows how unfair and shallow it was to think whether solely collectives or libertarian individual spirit could change the world. Collective act and the spirit of communality went dead-end as Gesu people \u2018selfishly\u2019 hijacked the electricity through personal wires and cables. A good-will and firm believer of justice such Victor faced the harsh reality of 200 cops with batons and shields pulling him and another hundreds out of the building.<\/span><\/p>\n

Demolishing Gesu building could certainly be seen as the triumph of capital over the possibility of just communal living complex. Nevertheless, what important was the power struggle involved the complexity within which was often neglected from analytical eyes in both ideologies. Alas, albeit the two ideologies contested in Gesu took over the discourse from far away — the Internationale anthem and European Central Bank from example, yet the ones undone and unsatisfied were the people from Gesu itself. The visual artists felt sick with the \u2018hierarchy\u2019 created by those who tried to help fix Gesu (corporate social responsibility <\/em>to be exact), while Victor was everything but feeling grief anymore. This was the same case when Victor shook his head in gruesome as anarchy was the only way people knew to survive in Gesu\u2019s context and situation. Feminism and moral of communality also didn\u2019t belong here as our Romanian street musician refused to give his (actually it wasn\u2019t his) room to a mother of seven children. It was all about to warm their bodies at night.\u00a0<\/span><\/p>\n

There was something more than the struggle between social-kapital<\/em> (without slash) in Gesu and\/or Zone Zero. In sarcastic manner, Gesu people who apparently had been sick with the power struggle between both ideologies that tried to promise them a better world responded in installing human-like dolls that hung to each other out of church tower. Written on its wall \u201c\u201cpas<\/strong>–de<\/strong>–probl\u00e8me!\u201d <\/strong>(no problem!). Or was the question from Gesu squat was \u2018after free market\/communist society, then what?\u2019?<\/span><\/p>\n

Choosing Zone Zero as opening film for ARKIPEL, according to me, was easily understood. The ideological symbols in this film were very clear; Marxist books, corporate social responsibility, and the audiopolitics of alternative music from inside the Gesu church. Dialogs, monologues, and chaotic noise in Gesu were attempted as a response to those symbols that engaged them.<\/span><\/p>\n

In my opinion, based on context briefly elaborated before, \u201csocial\/kapital\u201d seemed to be a complex idea to be altered for public audience. Especially the current Indonesian generation that had been \u201cde-ideologized\u201d, thanks to Soeharto\u2019s new order. For them clearly social\/kapital<\/em> no longer had its own context, unlike the previous generation (at least in the reformation era).<\/span><\/p>\n

\u201cThe theme is really interesting,\u201d said Hafidh, a student and visitor from Depok. \u201cAnd it\u2019s cool to know that that theme talks on its own time.\u201d However, Hafidh had his own position. \u201cIt\u2019s true that those two ideologies has their own dialectics, but for me taking position still matters, especially when you talk about a fair and just life, everyone of course dreams of happy life. The narration like people in Gesu was as important, though.\u201d<\/span><\/p>\n

Yustinus Kristianto (Iyus), an invitee of Festival Forum as well as a guess of the opening event, also stated the same argument like Hafidh. \u201cThis is very fresh theme. Not many attempts (in cultural event) created to present the paradox itself.\u201d Iyus silenced himself for a while to comprehend more. \u201cBut social\/kapital <\/em>for me isn\u2019t about contesting these two ideologies, rather to create dialog. More over, a dialog that films and cinema activist could bring into their film roll.\u201d<\/span><\/p>\n

ARKIPEL social\/kapital<\/em> \u2013 4th <\/sup>Jakarta International Documentary & Experimental Film Festival will run its programs until August 25th<\/sup> 2016, at Gedung Ekosistem Sarinah, Goethe Institute, Kineforum, Erasmus Huis, and @America.<\/span>[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

ARKIPEL social\/kapital \u2013 4th Jakarta International Documentary & Experimental Film Festival is an international film festival held by Forum Lenteng, consistently since its first attempt in 2013. 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